Brandon Allin
07/17/06, 09:35 AM
The Aggrolites (http://www.aggroreggae.com) - The Aggrolites
Release Date: May 9, 2006
Record Label: Hellcat Records
It takes alot out of any act in this day and age to fit the phrase "reinventing the wheel", and while Southern California's Aggrolites aren't really "breaking new ground", they aren't exactly following a tried and tested formula, either. As a matter of fact, with their self-titled, sophomore release, The Aggrolites act as a much needed can of fuel for a somewhat fading flame, one reflecting a deep love for a fusion of rocksteady, ska, and early reggae music. The band's inspirations shine heavily throughout the 19 track monster's running time, and although one listener can never shake the impressions of earlier artists, the experience is enduring and compelling all the same.
Yet, while The Aggrolites seem to feed off of artists and bands alike whom have shone before them, they're consistent with their efforts in blending their own unique formula into the mix. The opening effort, "Funky Fire", for example, is a faultless instance in which the band uses the knowledge gained from performers much before their time, and bases the backbone of their composition on such work. However, while the music these five men praise above all others more often that not seemed to lack a missing piece of the puzzle, The Aggrolites do everything in their power (and fortunately, are successful time and time again) to bridge the gap, and fill the aperture with their own individual offerings. More specificially, lead vocalist/guitarist Jesse Wagner is at the top of his game, packing the punch of a fired-up reggae artist, yet surprising audiences with his significantly impressive lounge-esque vocal stylings.
But, while the albums first track was impressive enough to hook any listener, I often worry that band's will fail to present anything worthwhile once the opener has run its chorus. Thankfully, for both the band and listeners alike, The Aggrolites are an exception to this ever-increasing trend, as the remainder of the material is just as indulging, if not moreso than the first taste. On "Mr. Misery", the band presents one of the most infectious hooks this reviewer has ever heard, and I found myself instantly captivated. The gang vocals, which are found in a good majority of tracks on the record, bring the entire experience together, and more or less fill out the band's already jam-packed sound. But, Wagner's vocals and his added choir aren't all that are keeping this record on the right track, as you'll find that the band performs just as accurately and prove to sound equally as captivating on tracks where no vocals are featured at all. The record features a handful of stunningly arranged instrumentals, which can almost be taken as breathers between the sing-along gems the band pumps out every few minutes.
However, while it seems like I may have nothing but praise for this album, what is holding this release back from being categorized as a chart-topper? To be quite honest, there isn't much. The Aggrolites have done a wonderful job with their sophomore effort, and a pat on the back is surely in order. But, as early reggae music isn't exactly the most widely-accepted form of creation in the industries current state, I doubt The Aggrolites will be able to do much in terms of creating a revolution. Yet, it's evident that this isn't the bands aim from the first listen on, and a dictionary defintion of 'success' isn't exactly what they're after. Additionally, however, the album may appear as somewhat redundant at times to those unfamiliar with the history of the fused genres, as each track is based off similar melodies and creative patterns. In short, it's almost as if this record will prove to be a gem to those who are in search of what The Aggrolites are offering, but fail to reach a level any higher than "background music" in the hearts of those with a little less of an open mind.
So, in the end, how does the self-titled, follow-up effort from The Aggrolites fair? Well, I'll be honest. I went into this album with a pair of ears aching for a formula that every act in the world isn't practicing, and the product offered was an enormous breath of fresh air. I can now breathe a sigh of a relief that there's a successful, interesting, and beautiful alternative to what's coming at us through the airwaves. This is, without a doubt, one of the best reggae releases ever, so don't count yourself as surprised if you see this gem making its way into my Best of 2006 list. The vocals are phenomenal, the lyrics are inspiring, the music is simple, yet intricate, and the experience is worth every moment of your time.
The Aggrolites, The Slackers, Westbound Train, and Desmond Dekker
Release Date: May 9, 2006
Record Label: Hellcat Records
It takes alot out of any act in this day and age to fit the phrase "reinventing the wheel", and while Southern California's Aggrolites aren't really "breaking new ground", they aren't exactly following a tried and tested formula, either. As a matter of fact, with their self-titled, sophomore release, The Aggrolites act as a much needed can of fuel for a somewhat fading flame, one reflecting a deep love for a fusion of rocksteady, ska, and early reggae music. The band's inspirations shine heavily throughout the 19 track monster's running time, and although one listener can never shake the impressions of earlier artists, the experience is enduring and compelling all the same.
Yet, while The Aggrolites seem to feed off of artists and bands alike whom have shone before them, they're consistent with their efforts in blending their own unique formula into the mix. The opening effort, "Funky Fire", for example, is a faultless instance in which the band uses the knowledge gained from performers much before their time, and bases the backbone of their composition on such work. However, while the music these five men praise above all others more often that not seemed to lack a missing piece of the puzzle, The Aggrolites do everything in their power (and fortunately, are successful time and time again) to bridge the gap, and fill the aperture with their own individual offerings. More specificially, lead vocalist/guitarist Jesse Wagner is at the top of his game, packing the punch of a fired-up reggae artist, yet surprising audiences with his significantly impressive lounge-esque vocal stylings.
But, while the albums first track was impressive enough to hook any listener, I often worry that band's will fail to present anything worthwhile once the opener has run its chorus. Thankfully, for both the band and listeners alike, The Aggrolites are an exception to this ever-increasing trend, as the remainder of the material is just as indulging, if not moreso than the first taste. On "Mr. Misery", the band presents one of the most infectious hooks this reviewer has ever heard, and I found myself instantly captivated. The gang vocals, which are found in a good majority of tracks on the record, bring the entire experience together, and more or less fill out the band's already jam-packed sound. But, Wagner's vocals and his added choir aren't all that are keeping this record on the right track, as you'll find that the band performs just as accurately and prove to sound equally as captivating on tracks where no vocals are featured at all. The record features a handful of stunningly arranged instrumentals, which can almost be taken as breathers between the sing-along gems the band pumps out every few minutes.
However, while it seems like I may have nothing but praise for this album, what is holding this release back from being categorized as a chart-topper? To be quite honest, there isn't much. The Aggrolites have done a wonderful job with their sophomore effort, and a pat on the back is surely in order. But, as early reggae music isn't exactly the most widely-accepted form of creation in the industries current state, I doubt The Aggrolites will be able to do much in terms of creating a revolution. Yet, it's evident that this isn't the bands aim from the first listen on, and a dictionary defintion of 'success' isn't exactly what they're after. Additionally, however, the album may appear as somewhat redundant at times to those unfamiliar with the history of the fused genres, as each track is based off similar melodies and creative patterns. In short, it's almost as if this record will prove to be a gem to those who are in search of what The Aggrolites are offering, but fail to reach a level any higher than "background music" in the hearts of those with a little less of an open mind.
So, in the end, how does the self-titled, follow-up effort from The Aggrolites fair? Well, I'll be honest. I went into this album with a pair of ears aching for a formula that every act in the world isn't practicing, and the product offered was an enormous breath of fresh air. I can now breathe a sigh of a relief that there's a successful, interesting, and beautiful alternative to what's coming at us through the airwaves. This is, without a doubt, one of the best reggae releases ever, so don't count yourself as surprised if you see this gem making its way into my Best of 2006 list. The vocals are phenomenal, the lyrics are inspiring, the music is simple, yet intricate, and the experience is worth every moment of your time.
The Aggrolites, The Slackers, Westbound Train, and Desmond Dekker